Category: CFPs

I am pleased to announce that the Call for Papers and website are now active for the ASAP/8 Symposium in Tartu, Estonia, September.  Our theme is “Alternatives to the Present.”  The complete CFP is at http://asap8.ut.ee/call-for-papers/ .  It is also attached to this message as a PDF.

The website can be accessed at http://asap8.ut.ee/ .  DEADLINE FOR PROPOSALS IS MARCH 26, 2016.

Yours,
Robyn Warhol, ASAP President

ASAP/8 CFP: Alternatives to the Present 
How and to what ends do the contemporary arts conceptualize, represent, and model new spaces and temporalities?
In recent years, much has been said about the difficulty of representing new spaces and times at “the end of history.” Fredric Jameson and Mark Fisher have famously pronounced that it is nowadays easier to imagine apocalypse on Earth than it is to conceive of an alternative to the timespace of capitalism. And yet surely there are still possibilities for introducing temporal and spatial otherness to the imagination in the forms of heterochrony, alternate futures and histories, and alternate conceptions of temporality and spatiality based in nonwestern cultures, affective perception, digital media, and barter or gift economies (not to mention altered states both geopolitical and cognitive).

The manifold practices of today’s literary, visual, media, and performing arts are in fact often devoted precisely to conceiving of such alternatives. Indeed, a minimal impulse towards some kind of “alterity” could be said to penetrate all art, irrespective of its medium, genre, place of origin, or ideological orientation. Therefore, we invite papers that examine the present status of imagining alternative spaces and times in all forms of contemporary art and artistic practice.

Possible topics include
·     possibilities for hybrid genres and artistic mediums
·     new narrative forms and unnatural narratives
·     art and theory that imagines the future or past
·     the artistic possibilities of imagining radical difference today
·     utopias, dystopias, and the changing status of utopian thinking as “social dreaming”
·     heterotopia and heterochrony
·     “zones” (of fantastic origin, of heterotopic space, of multidimensional time)
·     the contemporary practice of futurisms (“Afro-Futurism,” “Sino-Futurism,” etc.
·     architectural alternatives: ecotopia, ecopolis, etc.
·     sciences and the arts of the present
·     the timespace of augmented reality and digital gaming
·     time and the aural, the times/space of soundscape, music and heterotopia
·     dramatic timing, reimaginings of time and space as performance
·     manifesting alternative spaces and times specific to various artistic mediums: literature, visual arts, installation art, film, TV, theatre, music, digital arts, street art, performance art, architecture, urban planning

In keeping with the ASAP mission, we are especially interested in sessions that feature more than one artistic medium and more than one national tradition. The program committee will give preference to panels and roundtables that feature papers by scholars and artists working across and between disciplines.

Proposals should include 300-word abstracts for papers or 700-word abstracts for roundtables or panels, with email addresses and brief biographical statement for each speaker. See [asap8.ut.ee] for more information or contact [asap8info@gmail.com] with inquiries.

ASAP/8: “Artistic Alternatives to the Present” is hosted by University of Tartu in collaboration with the Program Committee of A.S.A.P. The symposium’s host organizers are Marina Grishakova and Jaak Tomberg, University of Tartu.

Deadline for submitting proposals: MARCH 26, 2016.
Please send submissions in Microsoft Word format to [asap8info@gmail.com].

ASAP 8 call for papers

Transnational French Modernisms

7^th-8^th July 2016, Durham University, UK

Keynote speakers: 

Dr. Jonathan Eburne (Penn State)

Professor Susan Harrow (Bristol)

Professor Debarati Sanyal (Berkeley)

The rise of France’s colonial empire in the 19^th century shaped French culture as a global arena and framed the emergence of modernism. Anxieties around the foreign, the exotic, and otherness animated iconic metropolitan works. Writers and artists from the colonies, such as Aimé Césaire and Assia Djebar, later used modernist aesthetics to challenge dominant historical narratives and state power. From the nineteenth century to decolonization, the modernist map of francophonie stretched across North America and the Caribbean to West Africa and South-East Asia. French modernism and empire building are intertwined (Lebovics 2014), but the relationship between French colonial expansion and modernist aesthetics remains unexplored. Debates about the racial and colonial dimension of modernism are largely confined to Anglophone modernism (Walkowitz 2006; Sheshagiri 2010), while francophone postcolonial theory often emphasizes literature’s political message over its aesthetic dimension (Bishop 2014). Without an understanding of the way colonialism and transnational exchanges shaped the French modernist imaginary, however, we elide the ethnic and cultural diversity of French culture.

This conference will connect debates about colonialism in Anglophone modernism to francophone writing, visual culture, and performance. By shifting attention away from the metropolitan, urban experience of modernity towards the transnational scope of modernisms in French, the conference will explore the interconnection of French colonial power and modernist aesthetics. In contrast to the metropolis-colony model, our conference will rethink French modernism as a transnational constellation of colonial and metropolitan spaces. Our animating question will be where was modernism, rather than when was modernism. What institutional, disciplinary, and ideological investments prevent thinking French modernism as transnational? What is the relation between modernist aesthetics and the global flow of capital, goods, and people? Do we maintain cultural imperialism by imposing a metropolitan concept of literary history on francophone artistic production?

We encourage submissions that cover the global map of francophone modernisms, including the Levant, sub-Saharan Africa, the Caribbean, Louisiana and Quebec, the Indian subcontinent, and the South Pacific. Submissions can cover but are not limited to the following questions and topics:

• Race, empire, and modernism;
• Decolonization, the ‘postcolonial’, and aesthetics;
• Colonial writers and artists imagining ‘post’-colonial communities;
• Cultural exchanges between colonies;
• Tensions between autonomous and committed art;
• Transnational political communities and modernism (communism in Vietnam and Algeria; fascism in Romania and Tunisia);
• The intersectionality of sexuality, gender, and class in transnational French modernisms;
• Modernist memory cultures;
• Tensions and differences between avant-gardes and modernism in French transnational cultures.
• Alternative geographies of modernity.

Supported by the Modern Humanities Research Association and the Faculty of Arts and Humanities, Durham University.

Abstracts (no longer than 300 words) should be sent to transnationalfrenchmodernisms@gmail.com by January 30, 2016.

Modernismes et francophonie: regards croisés

Conférenciers: 

Dr. Jonathan Eburne (Penn State)

Professor Susan Harrow (Bristol)

Professor Debarati Sanyal (Berkeley)

L’ambition coloniale de l’hexagone au XIXème siècle renforça la présence de la culture française sur la scène internationale et influença l’émergence du mouvement moderniste. On trouve en effet dans les grandes œuvres de la métropole, les traces d’une anxiété au sujet de l’étranger, de l’exotique et de l’altérité. Des écrivains et artistes issus des colonies comme Aimé Césaire et Assia Djebar utiliseront plus tard l’esthétique moderniste pour remettre en cause l’hégémonie de certains discours sur l’histoire et le pouvoir de l’Etat. Du XIXème siècle à la décolonisation, la carte moderniste de la francophonie s’étendit de l’Amérique du Nord aux Caraïbes en passant par l’Afrique de l’Ouest et l’Asie du Sud-Est. Si le lien entre modernisme et impérialisme français a été établi (Lebovics 2014), la relation entre expansion coloniale et esthétiques modernistes est encore méconnue. Les débats sur la dimension coloniale et raciale du modernisme sont encore largement confinés aux recherches sur la littérature anglophone (Walkowitz 2006; Sheshagiri 2010). Cependant, sans une compréhension approfondie de la relation entre colonialisme, échanges transnationaux et imaginaire moderniste français, nous éludons la diversité ethnique et artistique de la culture française.

Cette conférence a pour but de rassembler les théories sur le colonialisme dans le modernisme anglais, et les arts de la francophonie. S’éloignant d’une vision métropolitaine et urbaine de la modernité, la conférence explorera l’interconnexion du pouvoir colonial français et de l’esthétique moderniste. Notre conférence définira le modernisme français comme une constellation transnationale d’espaces coloniaux et métropolitains. Nous nous concentrerons sur la localisation du modernisme, plutôt que sur sa périodisation. Nous poserons les questions suivantes : quels intérêts institutionnels, disciplinaires et idéologiques empêchent de penser un modernisme français transnational et une culture francophone moderniste ? Quelle est la relation entre l’esthétique moderniste et le flux mondial de capitaux, de biens et de personnes ? Perpétuons-nous l’impérialisme culturel en imposant une conception métropolitaine de l’histoire littéraire à la production artistique francophone?

Nous invitons des communications qui couvrent la carte mondiale des modernismes français: le Levant, l’Afrique Sub-Saharienne, les Caraïbes, la Louisiane, le Québec, le sous-continent indien et le Pacific Sud.

Nous suggérons les thèmes suivants:

• Race, empire, et modernisme;
• Décolonisation, le ‘postcolonial’, et l’esthétique;
• Artistes coloniaux imaginant des communautés ‘post’-coloniales;
• Echanges culturels entre les colonies;
• Tensions entre arts autonome et engagé;
• Communautés politiques transnationales et modernisme (communisme au Vietnam et en Algérie; fascisme en Roumanie et en Tunisie);
• Sexualité, genre, et classe sociale dans le modernisme transnational français
• Cultures modernistes de la mémoire
• Tensions et différences entre avant-gardes et modernisme dans les cultures transnationales françaises
• Géographies modernistes de la modernité

La conférence est financée par la Modern Humanities Research Association et la Faculty of Arts and Humanities, Durham University.

Les propositions de communication (300 mots maximum) sont à envoyer à transnationalfrenchmodernisms@gmail.com avant le 30 Janvier 2016.

Dear friends,

You are warmly invited to the Literary London Society’s annual conference on 6-8 July 2016. To acknowledge this year of Shakespearean celebrations, the conference theme will be ‘London and the Globe’. This event will follow the trace of London’s transnational connections across historical periods and through novelistic, dramatic, poetic and other modes of expression.

Please follow this link for the call for papers: http://www.literarylondon.org/conference/

An Interdisciplinary Conference on Art History, Film, and Literature

Call for papers

University of Kent, 22^nd – 23^rd April 2016

This interdisciplinary conference, hosted by the University of Kent, takes as its starting point the range of complex and contradictory engagements between masculinity and the developing metropolis since the beginning of the twentieth century. Throughout this period the metropolis maintained a paradoxical status as a place of liberation and possibility, but simultaneously as one of alienation, sin, and oppression. What do responses to the modern city in visual art, film, and literature tell us about masculinity as it both asserts itself and registers its own anxieties, and subsequent representations of the city? In what ways do these contrasting positive and negative conditions, which encouraged complex responses, fit within the framework of masculinity?

In the wake of industrialization artistic reactions to modern urbanity were spurred on by the rapid growth of cities and the transition from rural to metropolitan living. This caused socio-cultural changes and a diverse range of masculinities to develop within the metropolis in terms of race, class, and sexualities. How has masculinity been visualized with the construction of this modern cityscape and ideas of the urban? And later in the 20^th Century, how did artists registering with ideas of deindustrialization or feminist and queer art forms affect or approach theories of masculinity and the urban? Can we construct an overarching lineage on this relationship? As one starting point, the so-called “crisis of masculinity”, and the way it is represented in various media, can be connected in interesting ways to the rise of the metropolis. This conference will bring together scholars from varying fields in order to begin a dialogue regarding the way theories of masculinity and the metropolis have developed in tandem, charting their evolution from the beginning of the 20^th Century to the present day. Scholars with diverse interests and approaches to this broad subject are welcome with papers concerning various media within the 20^th and 21^st centuries.

Examples of subjects invited for submission include, but are in no way limited to:

• Representations of the male and masculinity in metropolitan society within literature, film, and fine art. Contributions from theatre, and music are also welcome.
• Male as artist or witness to the evolving physical cityscape
• Modern and contemporary responses to 19^th Century representations of industrialisation and the urban / de-industrialization and the changing nature of the urban and the masculine
• The metropolis as a milieu of capitalist oppression, and how this can be related to masculinity
• Urban photography and the metropolitan male identity
• Masculine national identities within the cityscape
• Masculinity and the nocturnal city
• The modern or contemporary flâneur
• Cityscape planning and the organization of male spaces
• Destruction of the city and the crisis of masculinity
• The male Superhero
• Masculinities and sexualities within the metropolis
• Depictions of the urban male and race
• The relationship of masculinity to musical sub-cultures / the protest song and music as social commentary
• Feminist, gay, and / or trans artistic reactions to masculinity and the urban
• Masculinity and dramatic performance within the metropolis

Keynote Speakers

Dr. Deborah Longworth, University of Birmingham

Dr. Hamilton Carroll, University of Leeds

Dr. Gabriel Koureas, Birkbeck, University of London

Submission process
We invite submissions of short abstracts (300 words) accompanied by a brief biography (100 words). The time slot for presentations is 20 minutes with a 10 minute session for questions at the end of each panel.

Please send your abstract as an attachment (.pdf or .doc) to: masculinemetropolis@gmail.com

The subject of the email should contain the words: “Masculinity and the Metropolis submission”

The body of the email should include author(s) name, affiliation, abstract title and the email address you would like us to use to communicate with you.

Deadline for submissions: 20 December 2015.
Notification of acceptance/non-acceptance: 26 January 2016.
Registration

Postgraduate students / University of Kent Staff and Students: £10
Other researchers: £20

Accommodation

Premier Inn

Abode Canterbury

The Falstaff Hotel

All hotels are in city centre, a 10-20 minute bus, or 10 minute taxi ride from the University.

Registration will be required prior to the conference. Registration opens on the 1st of March 2016. Details on how to register will follow in due course.

Contact: masculinemetropolis@gmail.com

Organizers

James Finch, History of Art

Hannah Huxley, Centre for American Studies

Sara Janssen, Film

Margaret Schmitz, History of Art

With a special thanks to our sponsors: The University of Kent’s History of Art and Visual Cultures Research Centre, Aesthetics Research Centre and the Centre for Film and Media Research.

Irish Caribbean Connections is an interdisciplinary conference, to be held at University College Cork on 22-23 July 2016, keynote speaker Jamaican poet Lorna Goodison. Proposals are welcome on all aspects of Irish-Caribbean interactions, cultural, political, historical, sociological:

https://irishcaribconnect.wordpress.com/2015/11/30/call-for-papers/

Irish Caribbean Connections takes place just before University College Cork hosts the 2016 IASIL conference (International Association for the Study of Irish Literature). Visit:

http://www.iasil.org/2015/07/iasil-2016-conference-in-cork/

Call for Papers: EXTENDED DEADLINE

CONFERENCE:           CONTEMPORARY POETRY: THINKING AND FEELING

MAY 20^th-22^nd 2016

ORGANISERS:             ANTHONY CALESHU AND MANDY BLOOMFIELD,

PLYMOUTH UNIVERSITY

This conference is dedicated to exploring the interplay and divide between thinking and feeling in poetry. In what ways might poetry embody a process of thinking? What’s the role of emotion in recent poetry? Can thinking be divided from feeling? Does a poetry of the head preclude a poetry of affect, and vice versa? Are these the terms of competing antagonisms or productive dialogues? What’s the relationship between the intellect and affect?

Poetry has long explored these questions, but this conference dedicated to 20th and 21st century work, asks what ‘new’ developments are shifting the terms of debate and practice? Issues we hope to explore include the role and use of autobiography, imagination, sexuality, race, gender, faith, the lyric voice, narrative, conceptualism, history, eco-poetics and poetic materiality.

We welcome papers on 20th/21st century poets or poetries which might exist in that liminal space in between the thinking/feeling binary, or which might privilege either side of the divide. Within this broad rubric, we invite discussion of poets and poetries of the page, spoken-word, digital mediums, 3D design, hybrid constructions etc.

Scholars and creative practitioners alike are welcome.

Plenaries will be given by:   Redell Olsen

Keston Sutherland

Matvei Yankelevich

Emily Berry, Sam Riviere, and Jack Underwood

Please submit proposals by email in the form of 100-200 word abstracts for 20 minute long panel papers by 20^th January 2016. We also welcome proposals for pre-formed panels of 3 x 20-minute papers.

The conference will be held at Plymouth University, in the port city of Plymouth, Devon, in the Southwest of England.

Anthony Caleshu

anthony.caleshu@plymouth.ac.uk

Mandy Bloomfield

mandy.bloomfield@plymouth.ac.uk

Please find below a CFP for a seminar that will be held at the next conference of ESSE (The European Society for the Study of English) in 2016:

ESSE 2016

Galway (Ireland), Monday 22-Friday 26 August

http://www.esse2016.org/

Seminar S39

Impressions 1860-1920

Convenors:

Bénédicte Coste (University of Bourgogne-Franche-Comté, France)

Elisa Bizzotto (University of Venice, Italy)

Sophie Aymes (University of Bourgogne-Franche-Comté, France)

The seminar will discuss intermedial practices, the mutual influence of artistic practice and textual production, as well as the dual meaning of impression as a mode of reception and of expression. Papers will examine impression both as theme and trope in literary texts and art criticism in connection with the material characteristics of media in which writers/artists chose to express themselves. They can also address how the shift from late Victorian aesthetics to modernist experimentation was negotiated in this field.

The time period considered here spans six decades which saw the advent of photomechanical process and the revival of printmaking as an “original” mode of expression based on the premium granted to individual impression as autographic response and to the trope of the print as imprint on a medium and/or on the mind.

Please send your proposals to the three convenors by 28 February 2016:

benedicte.coste@u-bourgogne.fr

bizzotto@iuav.it

sophie.aymes@u-bourgogne.fr

CFP seminar ESSE Impressions

XXV International James Joyce Symposium, London, 13-18 June 2016

The deadline for paper and panel proposals for the Symposium has been extended to 15 January.  We especially welcome contributions that examine the theme of anniversaries, celebrations and commemorations that link with 1916 and the significant historical events that took place that year.  Guidelines for submissions can be found on the Symposium website athttp://anniversaryjoyce.com/call-for-papers/.

Call For Papers anniversaryjoyce.com The XXV International James Joyce Symposium in London welcomes papers and proposals for panels on any aspect of Joyce. We especially welcome papers that examine the symposium theme of anniversaries…

Academic Committee: Professor Joseph Kelly (College of Charleston), Dr Vike Plock (University of Exeter), and Dr Wim Van Mierlo (Loughborough University).